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Reality television has emerged like a bat out of hell, where every ‘character’ seeks to showcase their lives and emotions to hundreds of thousands of viewers. This captivates audiences because of the unscripted intense emotions it portrays, ranging from extreme highs to dramatic conflicts in a matter of seconds. Contrast this with viewing a television documentary about nature. Here, intense or stimulating emotional experiences are absent, unless one finds joy in the sight of grass, trees, or leaves. Generally, the sense of excitement is lacking. However, both mundane and exciting contexts are similar in the sense that they both possess emotional clusters.

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According to Aaron Ben Ze’ev (2000), a cluster of emotions is a set of emotions that often occur together or are closely related (p. 105). They share similar characteristics and are connected in their experience and encompass how we perceive, evaluate, are motivated by, and experience emotions. (Ben-Ze’ev, 2000, p. 9). Through reality television, we gain insight into human emotional experiences as well as how they meet Ben-Ze’ev’s criteria. Through an examination of popular reality TV shows such as Selling Sunset, Survivor, Love is Blind, The Bachelor, and Hoarders, we gain insights into the depths of the character's emotional landscape and its impact on their perceptions and behaviours.

 

Selling Sunset showcases the glamorous lives of real estate agents in Los Angeles. The real estate market is highly competitive and agents are constantly vying for top listings and recognition. While the show focuses on the glamorous lifestyle, it highlights the personal relationships among the agents, revealing emotional clusters. These clusters according to Ben-Ze’ev (2000), provide insight into the intricate dynamics of human emotions within the context of career aspirations and personal relationships.

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When money is at stake there is constant competition boosting pride and status among the agents. Essentially, agents strive to stand out and gain acknowledgment for their accomplishments and skills. Ben-Ze’ev’s (2000) exploration of pride and envy resonates with individual experiences. In the context of the show, the chase for recognition and success triggers emotional responses, such as feelings of inferiority or resentment. While inferiority and resentment are feelings or reactions that stem from emotional experiences they indeed evoke a range of intertwined emotions such as insecurity, sadness, and frustration. This emotional response, as described by Ben-Ze’ev (2000), stems from a perceived advantage or success of another person and is intensified by one’s competitive nature (p. 335). These emotions can be described as emotional clusters where multiple emotions interact and influence one another, shaping an individual's emotional state and/or mood (Ben-Ze’ev, 2000, p. 64).

 

Agents depicted on Selling Sunset can experience the fear of losing something they value, such as relationships, status, or possessions even though there is no clear evidence indicating such losses. This fake fear triggers a cluster of emotions, leading individuals to experience a range of feelings, even if the perceived threat may not be real (Ben-Ze’ev, 2000, p. 127). As Ben-Ze’ev (2000) highlights, perceived changes are determined by us; whether real or not, it is our perception that shapes our response to change (pp. 335-338). This fits within the spectrum of emotional experiences driven by the anticipation of potential negative events or losses (Ben-Ze’ev, 2000, pp. 325-326).

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Selling Sunset illustrates how emotional clusters influence perceptions in competitive environments. Pride, envy, and jealousy along with feelings of inferiority and resentment, insecurity, and frustration, even if unfounded, demonstrate how one emotion can trigger many others.

 

Stranded in a remote location, the ultimate goal is the be the Survivor and win a cash prize. While building relationships with other cast mates, the individuals are struggling with setbacks, vulnerabilities, food shortages, and sleep deprivation. Among the challenges is a whirlwind of emotions spanning from pity to compassion and empathy to ruthlessness. In times of hardship, these emotional clusters peak, intensifying the dynamics, decision-making, and interactions among contestants.

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According to Ben-Ze’ev (2000), pity and compassion are sympathetic sorrows for someone’s misfortune (pp. 326-334). This refers to the feelings of sadness or empathy one experiences when witnessing another person's misfortune. It involves sharing in the emotional experience of the other person and feeling compassion as a result. In pity, our passive attitude is rationalized through convincing beliefs that justify not helping others (Ben-Ze’ev, 2000, p. 329). An example of this relating to Survivor is depicted in how all the challenges unfold, showcasing the competitiveness and ruthlessness of the contestants. The mindset of “I deserve the one million dollars”, and “I have it worse off” often takes priority in the interactions and emotional responses of the contestants. Contestants experience a range of emotions and a sense of entitlement which occur simultaneously or in response to each other. The clusters lie in the intensity of these emotions within the context of the competitive environment.

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Contestants who are not cut out to be ruthless show empathy and care for others, even amid competition. They recognize and empathize with fellow competitors’ struggles, genuinely wanting to alleviate their suffering. This aligns with Ben-Ze’ev’s (2000) view of compassion, which seeks others’ relief (pp. 329-331). Contestants displaying emotional clusters tied to compassion such as sympathy, kindness, and generosity may extend support to fellow competitors. This empathy motivates them to help, especially after hearing personal stories emphasizing the need for the prize money. Emotions such as empathy and compassion, drive motivations, which in turn shape how individuals interact socially.

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Mercy goes beyond mere compassion, is expressed in certain actions, and manifests through deliberate actions (Ben-Ze’ev, 2000, pp. 334-336). In the game, a contestant may show mercy by forming partnerships with struggling peers, ‘saving’ them from elimination. This is not only an act of mercy but also embodies being happy for the other person's success (Ben-Ze’ev, 2000, p. 354). Being happy for someone involves experiencing joy in their achievements without jealousy or conflict (Ben-Ze’ev, 2000, p. 371-373). This emotional cluster combines empathy and selflessness, allowing contestants to celebrate others’ wins without feeling threatened. Ultimately, individuals’ values, personal beliefs, and emotional intelligence dictate whether they prioritize other’s well-being over personal success in the game.

 

Love is Blind is a reality TV show where singles try to find love and get engaged sight unseen, testing the idea of whether love truly is blind. Women gather to discuss their potential partners, filled with happiness and excitement for blind dates. However, emotions shift swiftly from anticipation to frustration, anger, and hate, captured by the camera as agitation sets in. This triggers clusters of anger and irritation, intensifying the emotional turmoil within the group.

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Ben-Ze’ev (2000) describes anger as a reaction to perceived threats, or frustrations. It can be directed towards a specific person or situation and may vary in intensity (pp. 466-469). Hate, on the other hand, represents a more profound emotional state. Unlike anger, which can dissipate over time, hate tends to linger in one’s thoughts and feelings (Ben-Ze’ev, 2000, p. 380-404). In the context of Love is Blind, anger and hate are amplified for dramatic effect. Participants often feel a mix of emotions such as frustration, resentment, and bitterness, triggered by feelings of betrayal, rejection, or frustration within the relationships.

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Hate surfaces as deep-seated anger in Love is Blind, particularly when individuals are left at the altar. This hatred is fueled by jealousy, competition, and fear including fear of loneliness or rejection. Envy may also arise from feeling inferior to others. When the women are left at the altar, they often express their hatred and anger as simply being mad. However, mad is an insufficient word to capture the cluster of emotions they feel. As Ben-Ze’ev (2000) describes, they intertwine in a cluster of emotional attitudes, resulting in subtle expressions (body language, tone of voice, or facial expressions) (p. 3). Over time, viewers witness the profound sense of resentment and bitterness associated with hatred and anger. Reactions stem from personal history, which unfortunately carries over into their next relationships. Insecurities surface, as one emotional reaction triggers a cascade of negative emotions that ultimately lead to the breakdown of the relationship. This scenario aligns with Ben-Ze’ev’s (2000) criteria by showcasing the complex way in which emotions influence and shape interactions, specifically within the context of couples (p. 63).

 

The Bachelor, a tale of love, focuses on romantic love and sexual desire, as contestants compete for the affection of the bachelor. Throughout the season, they navigate romantic affection, emotional intimacy, physical attraction, and sexual longing. The timeline and intense environment challenge genuine romantic love, but contestants try nonetheless. Ben-Ze’ev (2000) defines romantic love as a deep emotional connection, intimacy, and mutual fulfillment (p. 407). He further states that romantic love encompasses both emotional and physical aspects, including the feeling of longing, passion, and commitment (Ben-Ze’ev, 2000, p. 423). The presence of sexual desire and romantic love among contestants is at the forefront of the show. The girl's overwhelming desire to win the affection of the bachelor surfaces as an obsession rather than romantic love. This obsession brings a cluster of emotions including excitement, desire, anxiety, frustration, euphoria, jealousy, and insecurity. The environment and comparisons with other women intensify jealousy and insecurity, increasing tension. Jealousy and insecurity are tied to obsession, stemming from the intense desire to possess and maintain affection (Marazziti et al., 2010, pp. 53-58). However, they also intersect with romantic love and sexual desire, reflecting the fear of losing connection or facing rejection in the pursuit of validation (Ben-Ze’ev, 2000, p. 416). The Bachelor showcases a dramatized version of relationships where emotions such as sexual desire, romantic love, and obsession are shaped not only by genuine emotions but also by the pressures and expectations of the show.

 

Negative emotions such as fear, embarrassment, guilt, disgust, and regret are commonly portrayed in the reality TV show Hoarders. The show centers on individuals struggling with mental health disorders characterized by excessive hoarding, leading to severe clutter (Bhikram et al., 2017, pp. 300-306). Ben-Ze’ev (2000) defines fear as a complex emotion serving as a protective mechanism and source of stress (p. 480). Hoarders often experience fear of losing items they believe have sentimental value or fear that they need them in the future. Ben-Ze’ev (2000) reinforces this by stating that fear helps humans recognize and respond to potential threats or events to come (p. 467). Fear can lead individuals to feel embarrassed due to the perceived threat of judgment from others, specifically the viewers. When individuals fear how they will be perceived for their hoarding behaviour, they may experience embarrassment as a protective shield from potential shame or that they will be judged for their living conditions (Leary, 2015, pp. 435–441). This fear of social stigma can intensify feelings of embarrassment, leading individuals to withdraw from social interactions and isolate themselves further. The cluster of emotions tied to embarrassment includes guilt and regret. Guilt may arise from feeling like they have failed themselves by allowing their hoarding behaviour to escalate, leading to remorse for the clutter’s impact on their space and relationships. Similarly, regret surfaces as individuals reflect on missed opportunities to maintain healthy family relationships.

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Examining the hoarder’s perspective is insightful, but it's also important to consider the viewer’s viewpoint. Oddly enough, what captures the viewer is the emotion of disgust. Disgust, the primary emotion in the group of attitudes that expresses repulsion towards an object, intertwines with sensory perceptions such as vision, smell, and touch (Ben-Ze’ev, 2000, p. 387). In Hoarders, viewers are often disgusted by the appearance of the house. The irony lies not in the repulsion but in the attraction and fascination of the viewers to keep watching. The sight of unsanitary conditions can evoke emotional clusters such as shock, discomfort, pity, and sadness triggering a mix of empathy and concern for the well-being of the hoarder (Yamauchi & Sungkajun, 2018, p. 225). These mixed emotions show how complex our feelings can be when we watch the show.

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According to Ben-Ze’ev (2000), pridefulness refers to a sense of satisfaction and self-respect in one's accomplishment (p. 521). Individuals with hoarding issues take pride in their possessions, seeing them as an extension of themselves or as symbols of their identity, or achievements. The accumulation of belongings provides a sense of security and validation, reinforcing their sense of self-worth. Pridefulness is part of emotional clusters, interacting with other emotions to shape an individual’s emotional landscape (Ben-Ze’ev, 2000, pp. 510-518). Hoarders experience pridefulness alongside emotions like satisfaction and contentment, influencing their self-perception, attachment to their belongings, and interactions with others. In hoarding, pridefulness is intertwined with attachment, possessiveness, and security forming a cluster that drives the hoarder to accumulate their possessions to begin with. Ben-Ze’ev’s (2000) framework shows us that emotions aren’t isolated experiences (p. 5). They are connected and shape how hoarders behave and see things.

 

Ben-Ze’ev’s exploration of the subtleties of emotions provides a valuable lens through which to understand the dynamics of reality television shows. The principal emotions discussed, including envy, jealousy, pity, compassion, pleasure, anger, hate, disgust, love, sexual desire, happiness, sadness, pride, regret, pridefulness, and shame, form the emotional landscape of reality TV shows. Shows like Selling Sunset, The Bachelor, Love is Blind, Hoarders, and Survivor serve as compelling examples for the exploration of these emotions, mirroring ‘real life’ and showcasing the highs and lows of human emotions and vulnerabilities. An emotional cluster significantly shapes how someone is raised, the life they’ve lived, their past experiences, and whether they have the emotional capacity to persevere. As the emotional dynamics of each show are explored, observations are made on how emotions cluster and intertwine, shedding light on how individuals process and respond to various situations. This shapes the narratives and interactions among reality TV contestants, offering insights into human behaviour and relationships.